Posts Tagged ‘ serenity ’


Time to catch up with posting again, so here is a stunning piece of work from my Flickr friend Ethan, whose Burmese travels have produced a plethora of beautiful compositions.


There are three compositional techniques used within this shot, turning something serenely simple into a powerhouse of interest. Most obvious is the pairing of silhouette (the man in his boat) and layers (which is really a subtle form of silhouettes, where light is diffused in between the masking elements. The majesty of the landscape is given definition through the layers of hills that descend to the water’s edge, one so close that it is nearly as dark as the primary subject. And so the subject merges into the natural scenery; the man-made in harmony with its surroundings.

The third attribute is the golden ratios. These are not quite as obvious as one might expect, but fully appropriate to the scene: the boat between (but not quite reaching) primary and secondary horizontal, and sitting on the secondary vertical (yes, the boat, rather than the horizon). This interestingly puts two of the background peaks on the vertical primaries.

That the boat is between primary and secondary golden ration, moving out of the scene, breaks the rule that the subject should be entering the frame, but it also adds a sense of story; that this is a timeless life, repeated father to son for countless generations.

Wonderfully peaceful


Edith Cavell

Next, somewhat late relative to when it was originally posted, another excellent slice of wilderness from Keith Rajala (maclobster).

Edith Cavell

This image contains all of the building blocks that make up a great landscape image (even when it is shot in portrait). Starting, as we must, in the foreground, there is an element of interest; in this case a cairn. This structure serves a double purpose: to give the viewer something that provides a sense of scale – a conceptual starting point from which to explore the depths; and, consequently, as a visual anchor, giving meaning to what is beyond.

Beyond the foreground is the depth. Not a lot of the image needs to be used for this, but the arrangement of its elements through a clear sense of perspective takes the eye from the foreground to the majesty of the main subject area. In this instance, perspective is provided by the floating ice, and there is the added bonus of beautiful tones.

The completion of a large scenic shot such as this comes in the form of the actual subject, which must in itself be dominant and impressive… it’s scale having been established by the foreground and depth. Here, the huge mountain, so large it towers straight up, provides that sense of awe.

Additionally, here, we have the tongue of a glacier reaching in on the right side, aligned directly with the cairn. This bonus diagonal, with the extended rim of the ice pack and the foreground rocks, provides a further S-curve to hold everything together.

Dramatic power, with glamorous colour.

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